Poplars at Giverny, 1887 - Claude Monet - WikiArt.org Poplars at Giverny Copyright Information close The author of this artwork died more than 70 years ago. According to U.S. Copyright Law, copyright expires 70 years after the author's death. In other countries, legislation may differ. More … WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks solely. We use here Copyright term based on authors' deaths according to U.S. Copyright Law, that is 70 years. In other countries, the duration of copyright term may differ. Please check here copyright length according to your country's legislation before you consider reproducing images borrowed from Wikipaintings.org Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Monet Poplars Painting, Monet Trees | C Monet Gallery Monet • Paintings • Poplars Poplars Claude Monet experimented with light throughout much of his career.

In 1890, he was painting his famous Haystacks series showing the effects of sunlight on bales of hay. Also in 1890, and continuing again in 1891, Monet was working on another series. In Poplars, Monet again set out to show fleeting moments in changing light. During the time Poplars was painted, Monet lived in Giverny, France. In the summer of 1890, he went to the river Epte and began his long process of painting the poplar trees that lined the edge of the river. Some paintings were done from the banks of the river, while others were done from a boat, specially outfitted to allow Monet to paint and store the many canvases he had available. In some of Monet’s series paintings the composition doesn’t change, as in the Rouen Cathedral paintings . The Poplars series can be divided into two categories; paintings showing a few trees spanning the picture plane and rising above the top of the canvas, or paintings showing the poplar trees in a row going back into the distance. The first group, those that show three to seven trees are the more abstract of the series.

In those paintings, Monet shows the trunks of the trees with their tops out of view, off the top of the canvas. Their reflections can be seen in the water below divided by the bank of the river and its reflection on the water. Between the trunks there is the hint of more poplar trees; however, they are almost indistinguishable as trees as Monet painted them almost to abstraction. In the second group, where Monet shows the trees along the bank going off into the distance, we see more traditional landscape paintings. In those we see trees, with their leaves, along the bank of the river. The trees, clouds, and river are all recognizable. However different the compositions are, the ideas behind them are the same. The theme that stays with Monet for decades is light. In Poplars, like many of his series, the desire to capture the subtle differences in light throughout the day is what kept Monet painting. Because Monet was painting these trees in sunlight that would change as the minutes passed he had to have different canvases ready at any time. He also had to return day after day, over a two year period. Each painting had to be continued at the same time every day to get the same light effects.

Monet’s paintings appear to be done spontaneously and quickly a result of the visible brushstrokes and the short timeframe he had to get the changing light. A closer look reveals the layers of paint showing that these paintings were done over many sessions. After Monet stopped painting the poplar trees that first year, as winter came, the trees were set to be sold. Monet, not finished with his paintings, had to pay to keep them from being cut down so he could return the next year and continue painting. The Poplars series is similar to his Haystacks and is done at the same time both showing how different light can change how we perceive color. Monet takes Poplars and brings them to more abstraction, focusing on color more than subject. Visit Monet Poplars on the River Epte (1891) | National Galleries Scotland Poplars on the River Epte (1891) Download a larger version of this image About this artwork The elegant poplar trees on the banks of the River Epte, seen against a patchy blue summer sky, fuse with their reflected image in a network of brightly coloured brushstrokes.

This is a work from Monet's celebrated series of poplar paintings made between the spring and autumn of 1891, the year after he had settled in Giverny. He used a boat as a floating studio and captured beautifully the shimmering effects of sunlight on water. The trees were ready to be sold for timber, but Monet, in partnership with a timber merchant, bought the trees at auction so that he could continue painting them. title: Poplars on the River Epte accession number: NG 1651 measurements: 81.80 x 81.30 cm (framed: 103.50 x 103.50 x 12.00 cm) credit line: Purchased 1925 Claude Monet Claude Monet Monet is the most famous of the Impressionist artists. His painting 'Impression, Sunrise', shown in Paris in 1874, prompted critics to label him and fellow exhibitors as 'Impressionists'. Monet had moved to Paris from Le Havre, Normandy, where, inspired by Boudin, he painted landscapes in the open air.

Encouraged by friends he met in Paris, including Pissarro and Renoir, he continued throughout his long and prolific life to capture in his paintings through the vivid use of colour changing light effects. He was to refine this interest through his 'series' pictures, exploring the same subject at different times of day and year. Related groups Related products More about this artwork Monet settled in Giverny, some fifty miles north-west of Paris, in 1883. Although he continued to travel widely across France in the 1880s, his new surroundings at Giverny gradually became the focus of his work. The pace of his painting began to change. While he remained devoted to the spontaneity of Impressionism, he was also growing increasingly frustrated with the more superficial qualities of the style: ‘I am becoming a very slow worker … the further I go, the more I understand that it is imperative to work a great deal to achieve what I seek.’ The conflicting demands of immediacy and a desire for what he described as ‘more serious qualities’ led Monet to start working in series, painting the same subject under varying lighting conditions and at different times of day.

The Scottish National Gallery is fortunate to have two superb examples from these series. The first is one of some thirty paintings of haystacks. Most of these were painted in the autumn and winter of 1890 and fifteen of the haystack pictures were shown to great acclaim at the Durand-Ruel gallery in Paris in 1891. Our other series painting is from the celebrated sequence of paintings of poplars on the river Epte, a tributary that joins the river Seine near Monet’s home at Giverny. He painted them in the autumn of 1891 having paid a local timber merchant to delay felling the trees until he could complete the series. When he showed fifteen of the poplar paintings together in 1892, the exhibition was even more successful than the haystacks and the critics were lavish in their praise for Monet’s effort to create variety in unity. At first glance, our painting of poplar trees displays all the features that we associate with impressionist painting. The surface is covered in short, broken dabs of paint which suggest the shimmer of outdoor light and the movement of shifting reflections in the water.

The colour is keyed high to suggest the dazzling effect of bright sunlight, and there is an immediacy to the whole scene that evokes a passing moment. As we look more closely, however, we become aware of the order that the artist has imposed on the view; we begin to notice how the sweep of vertical tree trunks and their reflections are arranged to create a pleasing decorative rhythm, dividing the composition into four neat quadrants with a circle of light at the centre of the composition. Although Monet would have begun this painting on the spot, perhaps using his floating studio boat, it is likely that this work, like most others in the series, was elaborated and finished back in his studio. Working in series allowed Monet to demonstrate the seriousness and depth with which he scrutinised his subjects. By carefully adjusting the design of his compositions, by building up rich layers of texture and through subtle refinements of colour, he was able to retain a feeling of instantaneity but also go beyond the informality and sketchiness of Impressionism. This text was originally published in 100 Masterpieces: National Galleries of Scotland, Edinburgh, 2015.

For general enquiries regarding your visit or gallery services: +44 (0)131 624 6200 enquiries@nationalgalleries.org The Four Trees | Claude Monet | 29.100.110 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Artist: Claude Monet (French, Paris 1840–1926 Giverny) Date: 1891 Dimensions: 32 1/4 x 32 1/8 in. (81.9 x 81.6 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.110 Description During summer and fall 1891 Monet painted a series of views of poplars along the Epte River, at Giverny. Completion of the series was temporarily threatened when the village of Limetz, across the Epte from Giverny, decided to sell the trees at auction.

Monet paid a local lumber merchant to ensure that the trees remained standing until he finished his work. He painted some of the pictures from the riverbank, and others, such as this one, from a boat specially outfitted with grooves to hold multiple canvases. Like the Haystacks, the Poplars were first exhibited as a series. Fifteen were shown in Paris in 1892. Sedef's Corner: Claude Monet - Poplars Series Claude Monet - Poplars Series Claude Monet, Poplars Along the River Epte, Autumn, 1891 (Private Collection) Claude Monet, Poplars (Autumn), 1891 Claude Monet, Poplars, Four Trees, 1891 (Metropolitan Museum of Art) Throughout the spring, summer and fall of 1891, Monet worked on his other famous series 'The Poplars,' some overlapping with his Grainstacks series. He made 24 paintings of Poplars, which was known as the tree of freedom, symbolic of prosperity and fertility of France but also nationalism.

There were three types of groups for these paintings -first group was three poplars with an 'S' curve in the back; second group was a lot of poplars with an 'S' curve; third group were poplars with their reflections. Claude Monet, Poplars (Wind Effet) 1891 (Private Collection) Previously In Argenteuil, Monet had encountered poplars, trees that were planted 8' apart single file, so that they would grow tall and not sideways into each other. They were planted in a marsh by the River Epte, which was very close to Monet's house in Giverny. Monet painted the trees from his studio-boat that was moored by the trees, which he reached with a small boat he borrowed from Caillebotte. Before he was finished with his paintings the town wanted to auction and sell the trees, so in order to continue, Monet bought the trees and then sold them after he was finished with them to a lumber merchant.

The S- curve that was outlined by the top of the trees in the background was a crucial element in these paintings, not only did it add motion to the image but also the S-curve had associations with the Rococo. Ingres had used the S-curve in his female figures for beauty and grace. Monet and his audience at the time would, of course, recognize this which caused some critics and artists to disapprove of the Poplars Series as too pretty and too decorative. But at the end of 19th century, decorative was favorable and they sold really well. Viewers actually loved these paintings because of the S-curve and the decorative aspect which reminded them of France's dominance during the Rococo period. Claude Monet, Poplars on the River Epte, 1891 (Philadelphia Museum of Art) A Decorative Arts museum was built in Paris around 1882 and there was a reawakening to the need to reinforce France's superiority in the decorative arts, which had peaked in the 18th century. Monet may be reclaiming this dominance through his Poplars.

Monet's concern regarding the Poplars seems to be parallel to the Grainstacks, in that there is more to them than just the effects of light and atmosphere on a landscape. They are also about community, nationalism, France's dominance and the prevailing taste that appealed to a wide audience - helping to secure Monet's position as one of the most dominant artist of his time and add to his prosperity. Claude Monet | The Four Trees | The Met The Four Trees Claude Monet (French, Paris 1840–1926 Giverny) Date: 32 1/4 x 32 1/8 in. (81.9 x 81.6 cm) Classification: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.110 On view at The Met Fifth Avenue in Gallery 819 During summer and fall 1891 Monet painted a series of views of poplars along the Epte River, at Giverny.

Completion of the series was temporarily threatened when the village of Limetz, across the Epte from Giverny, decided to sell the trees at auction. Monet paid a local lumber merchant to ensure that the trees remained standing until he finished his work. He painted some of the pictures from the riverbank, and others, such as this one, from a boat specially outfitted with grooves to hold multiple canvases. Like the Haystacks, the Poplars were first exhibited as a series. Fifteen were shown in Paris in 1892. Signatures, Inscriptions, and Markings Inscription: Signed and dated (lower left): Claude Monet 91 Provenance [Knoedler, New York, until 1893; stock no. 7287; their sale, American Art Association, New York, April 14, 1893, no. 362, as "The Four Trees (Poplar Series)," for $1,175 to Durand-Ruel]; [Durand-Ruel, New York, 1893–95; stock no.

1063; sold on January 12, 1895 to Havemeyer]; Mr. and Mrs. H. O. Havemeyer, New York (1895–his d. 1907); Mrs. H. O. (Louisine W.) Havemeyer, New York (1907–d. 1929; cat., 1931, p. 160, ill., as "Landscape—Les Quatre arbres") Exhibition History Paris. Durand-Ruel. "Exposition de Claude Monet: Série des peupliers des bords de l'Epte," February 29–March 10, 1892, no. 10 (as "Les 4 Arbres"). New York. Durand-Ruel. November 1894, no catalogue [see New York Times 1894]. New York. Durand-Ruel. "Monet," January 12–27, 1895, no. 14. New York. The Metropolitan Museum of Art. "The H. O.

Havemeyer Collection," March 10–November 2, 1930, no. 85 (as "The Poplars [Les Quatres (sic) Arbres]") [2nd ed., 1958, no. 175, as "Poplars"]. Newark Museum. "19th-Century French and American Paintings from the Collection of The Metropolitan Museum of Art," April 9–May 15, 1946, no. 23. Richmond. Virginia Museum of Fine Arts. "Paintings by the Impressionists and Post-Impressionists," October 20–November 19, 1950, unnum. checklist (as "The Poplars"). City Art Museum of St. Louis. "Claude Monet," September 25–October 22, 1957, no. 75. Minneapolis Institute of Arts. "Claude Monet," November 1–December 1, 1957, no. 75. New York. Museum of Modern Art.

"Claude Monet: Seasons and Moments," March 9–May 15, 1960, no. 57 (as "The Four Poplars"). Los Angeles County Museum. "Claude Monet: Seasons and Moments," June 14–August 7, 1960, no. 57. Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (pp. 40–41). Iowa City. University of Iowa Gallery of Art. "Impressionism and Its Roots," November 8–December 6, 1964, no. 34 (as "The Poplars"). Fort Worth Art Center. "Spectrum: A Cross Section from the Metropolitan Museum of Art, New York," March 8–April 12, 1970, unnumbered cat. (as "The Poplars"). Buffalo. Albright-Knox Art Gallery. "Color and Field: 1890–1970," September 15–November 1, 1970, no.

15 (as "The Four Poplars"). Dayton Art Institute. "Color and Field: 1890–1970," November 20, 1970–January 10, 1971, no. 15. Cleveland Museum of Art. "Color and Field: 1890–1970," February 4–March 28, 1971, no. 15. New York. The Metropolitan Museum of Art. "Impressionism: A Centenary Exhibition," December 12, 1974–February 10, 1975, not in catalogue. New York. The Metropolitan Museum of Art. "Monet's Years at Giverny: Beyond Impressionism," April 19–July 9, 1978, no. 16. Saint Louis Art Museum. "Monet's Years at Giverny: Beyond Impressionism," August 1–October 8, 1978, no. 16. Madrid. Museo Español de Arte Contemporáneo.

"Claude Monet (1840–1926)," April 29–June 30, 1986, no. 72 (as "Les quatre arbres"). Leningrad [St. Petersburg]. State Hermitage Museum. "From Delacroix to Matisse," March 15–May 10, 1988, no. 29. Moscow. Pushkin State Museum of Fine Arts. "From Delacroix to Matisse," June 10–July 30, 1988, no. 29. Museum of Fine Arts, Boston. "Monet in the 90s: The Series Paintings," February 7–April 29,1990, no. 41. Art Institute of Chicago. "Monet in the 90s: The Series Paintings," May 19–August 24, 1990, no. 41. New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no.

A407. Edinburgh. National Gallery of Scotland. "Monet to Matisse: Landscape Painting in France, 1874-1914," August 11–October 23, 1994, unnumbered cat. Paris. Musée d'Orsay. "La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme...," October 20, 1997–January 18, 1998, no. 27. References "Individualists at Durand-Ruel's." New York Times (November 3, 1894), p. 4. "Havemeyer Collection at Metropolitan Museum: Havemeyers Paid Small Sums for Masterpieces." Art News 28 (March 15, 1930), p. 35. Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 56. Frank Jewett Mather Jr.

"The Havemeyer Pictures." The Arts 16 (March 1930), p. 479. H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 160, ill. Stephen Gwynn. Claude Monet and His Garden: The Story of an Artist's Paradise. New York, 1934, p. 168. Lionello Venturi. Les Archives de l'impressionnisme. Paris, 1939, vol. 1, pp. 342–43, publishes two letters from Monet to Durand-Ruel about the poplar series, one of which (March 9, 1892) mentions "le cadre des quatre arbres". Oscar Reuterswärd. Monet. Stockholm, 1948, p. 286. William C. Seitz in Claude Monet. Exh. cat., City Art Museum of St. Louis. Minneapolis, 1957, pp. 29–30, no. 75, ill.

Denis Rouart in Claude Monet. [Lausanne], 1958, p. 85, ill. (color), states that "the linear stylization foreshadowing the decorative eccentricities of the 'art nouveau' of 1900, combined with the rippling mirror of the water, here attains an almost abstract degree of purity". William C. Seitz. Claude Monet. New York, [1960], pp. 35, 140–41, ill. (color), compares the abstract design to later work by Mondrian and Klimt, and claims that Monet had adapted some of Seurat's principles of color and design. William C. Seitz. Claude Monet: Seasons and Moments. Exh. cat., Museum of Modern Art. New York, 1960, pp. 26, 29, 61, no. 57, ill. Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp.

136–37, ill. Raymond Cogniat. Claude Monet. New York, 1969, ill. p. 39 (color). William Seitz. "The Relevance of Impressionism." Art News 67 (January 1969), ill. p. 33. Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 291, 297–99, 302, 304–5, fig. 24. Jean Clay. L'Impressionnisme. [Paris], 1971, pp. 254–55, ill. (color). Denis Rouart in Monet, Water-Lilies: Or the Mirror of Time. New York, 1974, p. 51, ill. [French ed., 1972]. Sabine Cotté. Monet. Paris, 1974, colorpl. 15. Andrew Forge in Monet at Giverny. London, 1975, p.

11, uses it as an example of Monet's development of an "extreme frontality which seems to be capable of radiating endlessly beyond the boundaries of the canvas". Joel Isaacson. Observation and Reflection: Claude Monet. Oxford, 1978, pp. 41, 222, pl. 105. Roger Terry Dunn. "The Monet-Rodin Exhibition at the Galerie Georges Petit in 1889." PhD diss., Northwestern University, Evanston, Ill., 1978, pp. iv, 133–34, fig. 10. Meyer Schapiro. "Mondrian: Order and Randomness in Abstract Painting." Modern Art: 19th & 20th Centuries, Selected Papers. New York, 1978, p. 245, fig. 6, compares the composition to a painting by Mondrian called "Trees in Moonlight (Trees on a River Bank)" (Gemeentemuseum, The Hague). Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887–1898: Peintures.

Paris, 1979, pp. 42–3 n. 1051, p. 47 n. 1083, p. 66 n. 1278, p. 264 letter 1135, no. 1309, ill. Robert Herbert. "Method and Meaning in Monet." Art in America 67 (September 1979), p. 108, as "Four Poplars". Wim de Poorter et al. Impressionisme en Symbolisme. Nijmegen, 1979, pl. 3. Klaus Berger. Japonismus in der westlichen Malerei: 1860–1920. Munich, 1980, pp. 92–93, fig. 68. Grace Seiberling. Monet's Series. PhD diss., Yale University. New York, 1981, pp. 116–17, 365, no. 23. Robert Gordon and Andrew Forge. Monet. New York, 1983, p. 293, ill. p.

197 (color). Jacqueline Guillaud and Maurice Guillaud. Claude Monet au temps de Giverny. Exh. cat., Centre Culturel du Marais. Paris, 1983, figs. 49 and 50 (color, detail and overall). Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 10, 138–39, 252, ill. (color, overall and detail). Charles F. Stuckey, ed. Monet: A Retrospective. New York, 1985, p. 184, colorpl. 81. Shunsuke Kijima. Monet. Tokyo, 1985, unpaginated, fig. 39 (color). Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp.

100, 257, claims that the Havemeyers bought this work on January 12, the opening day of the 1895 exhibition in which it was included. John House. Monet: Nature into Art. New Haven, 1986, pp. 25, 128, 178, 203, colorpl. 256. Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 36–37, colorpl. 20. Francesco Arcangeli. Monet. Bologna, 1989, p. 60, fig. 55. Richard Kendall, ed. Monet by Himself. London, 1989, ill. p. 209 (color). Rodolphe Rapetti in L'art du XIXe siècle, 1850–1905. Paris, 1990, p. 53, fig. 83 (color).

Roland Dorn in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, p. 189, no. 63, ill. (color). Paul Hayes Tucker. Monet in the '90s: The Series Paintings. Exh. cat., Museum of Fine Arts, Boston. Boston, 1990, pp. 111, 297, no. 41, colorpl. 35, ill. p. 115 (color detail). Karin Sagner-Düchting. Claude Monet, 1840–1926: Ein Fest für die Augen. Cologne, 1990, pp. 161, 167, ill. p. 168 (color). Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 217. Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh.

cat., The Metropolitan Museum of Art. New York, 1993, p. 33, colorpl. 35. Chuji Ikegami. New History of World Art. Vol. 22, Period of Impressionism. Tokyo, 1993, p. 178, ill. p. 178 and colorpl. 117. Marianne Alphant. Claude Monet: Une vie dans le paysage. [Paris], 1993, pp. 498, 500. Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 365–66, no. A407, ill. Richard Thomson. Monet to Matisse: Landscape Painting in France, 1874–1914. Exh. cat., National Gallery of Scotland. Edinburgh, 1994, pp. 13, 144–45, 147, 187, 193, colorpls.

219, 225 (overall and detail). Steven Z. Levine. Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. Chicago, 1994, pp. 125, 147–48, 167, fig. 79. Lynn Federle Orr. "Monet: An Introduction." Monet: Late Paintings of Giverny from the Musée Marmottan. Exh. cat., New Orleans Museum of Art. New Orleans, 1994, p. 25, fig. 11 (color), discusses Monet's use of abstraction, cutting off the tops of the trees and creating a grid of horizontals and verticals that cannot be read three-dimensionally. Elia Espinosa. "El Poema como Instrumento de Percepción de la Pintura." Los Discursos Sobre el Arte. Ed. Juana Gutiérrez Haces. Mexico City, 1995, pp. 297–99, fig.

1, discusses the painting in relation to Octavio Paz's poem "Cuatro chopos", which was inspired by this picture. Daniel Wildenstein. Monet or the Triumph of Impressionism. Vol. 1, 2nd ed. Cologne, 1996, p. 280. Daniel Wildenstein. Monet. Vol. 3, Catalogue raisonné–Werkverzeichnis: Nos. 969–1595. 2nd ed. Cologne, 1996, pp. 523–24, no. 1309, ill. pp. 517 and 522 (color, detail and overall). Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 61, 63, 105, no. 27, ill. (color). Susan Alyson Stein in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay.

Paris, 1997, p. 18. Caroline Durand-Ruel. "Quand les Havemeyers aimaient la peinture française." Connaissance des arts no. 544 (November 1997), pp. 108–9, ill. (color). Carla Rachman. Monet. London, 1997, p. 255, fig. 163 (color). John Goodman in The Oxford History of Western Art. Ed. Martin Kemp. Oxford, 2000, p. 334, colorpl. 487. Anthea Callen. "Technique and Gender: Landscape, Ideology and the Art of Monet in the 1890s." Gendering Landscape Art. Ed. Steven Adams and Anna Gruetzner Robins. New Brunswick, N.J., 2001, p. 37, suggests that Monet bought canvases for his Poplars series in groups by size; notes that this painting is the most abstract composition of the series. Horst Keller. Monets Jahre in Giverny, Ein Garten wird Malerei.

Cologne, 2001, p. 67, ill. p. 64 (color). Ann Gibson in Monet and Modernism. Ed. Karin Sagner-Düchting. Exh. cat., Kunsthalle der Hypo-Kulturstiftung. Munich, 2001, pp. 116–17, ill. (color). Michael Diener. Das Ambivalente in der Kunst Leonardos, Monets und Mondrians. PhD diss., Universität Saarbrücken. St. Ingbert, 2002, pp. 196, 200 n. 532, p. 212. Sylvie Patin. "Un tableau de la série des 'Peupliers' de Monet entre par dation au musée d'Orsay." Revue des musées de France: Revue du Louvre 53 (April 2003), p. 24, fig. 3. Christofer Conrad in Christian von Holst and Christofer Conrad. Claude Monet: Fields in Spring. Exh. cat., Staatsgalerie Stuttgart.

Stuttgart, 2006, p. 108, fig. 83 (color). Christian von Holst in Christian von Holst and Christofer Conrad. Claude Monet: Fields in Spring. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 2006, p. 50, fig. 25 (color). Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 84. Joseph Baillio and Cora Michael in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, pp. 167, 204. Paul Hayes Tucker in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc.

New York, 2007, pp. 76–77, fig. 17 (color). Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 142, 283–84, no. 131, ill. (color and black and white). Sylvie Patry in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, p. 257 [French ed., "Paul Durand-Ruel: le Pari de l'Impressionnisme," Paris, 2014, pp. 178–79], discusses the 1892 exhibition of Monet's "Poplars" series at the Durand-Ruel Gallery as a key turning point in his work, career, and reception. Timeline of Art History (2000-present) Essays

Question: Which trees were the subject of paintings by Monet in 1891?
Answer: POPLAR